There is something tender and specific about the ways elders like Frank Wess shaped their notes.
Facing no interest from record labels, jazz bassist Mimi Jones made two albums under her own imprint. Along the way, she signed two “amazing, bad-ass” musicians — who also happen to be black female instrumentalists.
On Feb. 12, 1964 a high-stakes gig and some backstage tension led to a singular performance caught on tape.
In 1980, the pianist plays his tune “N.P.S.” and duets with host Marian McPartland in “Lover Man.”
When the prolific composer died in 1974, he left one of his most ambitious projects unfinished. Forty years later, admirers are still trying to fill in the blanks.
In a program from 1987, Hancock solos on “Dolphin Dance” and then improvises with Marian McPartland.
On Sixteen Sunsets, the soprano saxophonist varies and honors melody like Billie Holiday.
Sixty years ago, a jazz pianist found himself in much the same bittersweet position as a rapper did on Sunday night. Surely proud of their hard work, they also sensed that their privilege as white musicians had something to do with their new success.
Many Shanghai jazz standards of the 1930s and ’40s were banned in China after the Chinese Communist Party took over. But they reemerged decades later through cover versions. Now, the songs are back again in a new cover album by a Chinese-American electronic artist and a jazz singer from Shanghai.
The innovative guitarist plays “Blue Monk” with host Marian McPartland in a session from 2003.